The limited-edition collection, based on Roitfeld's signature smoky eye look, offers plenty of eye shadow and kohl pencil options, but also includes lipstick, nail polish, and even a press-on, peel-off star stencil—all within the $15 to $44 range.

To celebrate the launch, ELLE.com chatted with Roitfeld about how the partnership came about, shooting the ad campaign, and how important makeup is to the fashion stories she styles. And don't miss the exclusive image, below, from the collection's campaign shoot with Mario Sorrenti.

ELLE: How did the MAC collaboration happen?

Carine Roitfeld: Well, I was a little surprised when they asked me. But I like a new challenge, and I'm a little crazy, so I said yes. I proposed Mario Sorrenti to MAC, because I know they have never worked together, and they said yes. I also proposed that we shoot the collection visual in black and white and because James Gager [MAC's SVP and group creative director] likes a new challenge and is maybe crazier than me. He said, "Why not? Let's try it." Most makeup campaigns are not in black and white.

ELLE: You come from a fashion background and have worked with many designers. Was putting your own makeup collection together similar to a designer's process?

CR: When a designer creates, he looks at the world around him. When I began the MAC project, I looked at the way I do my own makeup, which many women can identify with. Every woman can recreate the smoky look in their own way.

ELLE: What was your favorite part of this process?

CR: Maybe this will sound a bit selfish, but in a way, my favorite part was shooting the campaign. At first it was a little difficult for me because I'm always on the other side of the camera, but this time I was the star. They took care of me by giving me a manicure and a pedicure—it was a like spa day. Mario Sorrenti told me for a whole day I was beautiful. Now, that is a great day.

Photo: MAC

Photo: MAC

ELLE: It's a great picture too. Don't you agree?

CR: Mario loves women, so the way he talks to you makes you feel comfortable, and when you feel comfortable you look beautiful. At the end, the picture was beautiful. I like the idea of the slip dress too. It's a timeless picture, and hopefully an image where many women can say, "I can look like her. I can try more black on my eyes."

ELLE: When did you decide to use Mario Sorrenti as a photographer?

CR: At first we were thinking of some other photographers. But one day, I was working with him on another job, and my daughter came by the studio to say hi. I knew she was pregnant, but she hadn't told anyone else yet. Mario looked at her and said to her, "Oh my god, Julia, you've never looked so beautiful." In a way, he could sense it. He asked if she could come by the next day and do a portrait of us together because he had already done one of me and my son, Vladimir. So the next day, she came to the shoot and we did the portrait together, and I loved it. My daughter has always been beautiful, but I liked the way he made me look, too. I took the picture and showed it to the people at MAC, and said we should do something similar. They agreed, and so it became the first time they worked with Mario Sorrenti.

ELLE: How important is makeup to a fashion story?

CR: The hair and makeup is very important in a fashion picture. When I create a look for a girl, it starts with the makeup. Sometimes it takes an entire day to find the look. One time, we did a shoot and we changed the makeup and hair color five times. For me, I don't look at them as models. They are more like characters or actresses, and you have to create the part. I never think of it in advance. It's very spontaneous.

ELLE: You decide in the moment?

CR: Yes. I've never gone to vintage books or copied from a reference material. Never. For me, it's always been about spontaneity. Now it's so easy with the Internet to Google something and duplicate it, but I don't do that, when I started working we did not have access to it, so it is not part of my work ritual.

ELLE: Is this because you want to capture a new image, not one that has passed?

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